琰：史金淞新作展
]2008.7.26 － 2008.8.24
策展人：巫鸿
开幕酒会：2008年7月26日2：59PM
展览地点：站台中国当代艺术机构草场地主空间 B
站台中国当代艺术机构将在7月末的盛夏推出由巫鸿策划的史金淞的最新个展《琰》。作为站台中国又一挑战传统展览观念的展览，展览名称最简括地体现了其中概念，开幕时间也定在一天中最热的时刻－下午2点59分，由此可以看出本次展览所关注的主题。这个艺术计划的契机萌生于2007年的夏天，史金淞同时被“炭”和“玉”这两种特殊媒材所吸引，开始了为期一年的准备和制作。
本次展览将展示三件作品，两件与火有关，另一件是玉的呈现，囊括这三件作品的大意，合起来便是“琰”字。与火有关的两件作品，前者是由整棵树干烧制而成的炭，后者是两台经过精密计算、改造和重新装配的裸露的汽车发动机，以及镜面不锈钢精心打造的排气系统，由于艺术史语汇的贫困我们可以暂时把它们叫作“装置”，但是二者使用的都不是常规意义上的现成品，而是艺术家精心设计的物质转化。实际上，这两件作品在制作上极高的技术含量——这从它们精密的设计图上可以一望而知——全然拒绝装置艺术的原始意义。但它们在展览中的运动状态和对单纯视觉性的拒绝，又使得我们无法把它们归入其它约定俗成的艺术形式。另一件作品，是一个安装在机械底座上的与真人头等大的玉雕人头，随着机械的简单运作以每分钟16次的频率不断地撞击面前的一堵墙壁，单调乏味的撞击声和前两件作品的逼人炙热形成不协调的对比。
这些作品都蕴含着暴力和危险，但这是以不同方式呈现、有着不同文化内涵的危险和暴力。它们在此刻吸引人们的正是它们极端化的艺术想象以及这种想象和精密技术的结合——这是史金淞作品的特性，但是在这里获得了又一次纯化和提升。
如果它们是在西方美术馆展出，必然会被要求“熄火”，成为赏心悦目、无声无害的艺术观赏物。但在北京站台中国当代艺术机构的空间里展出它们，将具有强烈的社会心理意义：其咄咄逼人的高温和冷静的技术处理反映的是现时的“中国状态”——一种以爆破方式进入现代的焦虑的灼热，一种使弄潮儿血脉贲张而使旁观者望之却步的临界景观。
了解更多信息请到站台中国新浪博客：
[url]http://blog.sina.com.cn/platformbj
Fire His Breath, Jade His Bones
New Work by Shi Jinsong
2008.7.26 － 2008.8.24
Curator: Wu Hung[/size]
Opening Party: JULY 26, 2008, 2：59PM
Venue：Platform China Contemporary Art Institute Main Space B
Platform China Contemporary Art Institute is pleased to present Shi Jinsong’s new solo exhibition - Fire His Breath, Jade His Bones -- curated by Wu Hung. This show challenges the conventional concept of an exhibition by emphasizing the “materiality” of contemporary art. The idea of this project first emerged in the summer of 2007 when Shi Jinsong became enchanted by the potential of two kinds of natural materials in making art: fire and jade. This exhibition is the result of his experimentation with both materials over the past year.
The exhibition contains three works - two are related to fire and one uses jade. One of the “fire” works is a burning piece of charcoal made from an enormous tree trunk; the other is an exposed car engine with a stainless steel exhaust system that turns red following periodic explosions. Because of the shortage of appropriate terminology we may call them installations, but both works are far from “readymade,” resulting instead from carefully planned transformation of natural materials and utilitarian objects. The third work in the exhibition is a tiny jade human head set on a stainless steel base upstairs. Motorized by a mechanism it strikes the wall at the rate of 16 times per minute. Its “cool” material and monotonous, repetitive action contrast dramatically with the two “fire” works displayed downstairs.
These works all allude to violence and danger, but of different forms and cultural connotations. They impress people with a penchant for danger as well as for technological precision---a characteristic of Shi Jinsong’s art which achieves a new level of expressiveness.
If displayed in a western museum, such installations would have most likely been presented as flameless and “safe” objects. To be shown in Platform China Contemporary Art Institute in Beijing’s Caochangdi, however, these works are imbued with deep social and psychological significance: the fusion of aggressive burning and impassionate technical calculation reflect what may be called the current “China conditions” - the country’s impatient and explosive thrust into the modern world, and the exhilaration and threat generated by such desire and movement.
For more informations please click here:
[url]http://blog.sina.com.cn/platformbj
]2008.7.26 － 2008.8.24
策展人：巫鸿
开幕酒会：2008年7月26日2：59PM
展览地点：站台中国当代艺术机构草场地主空间 B
站台中国当代艺术机构将在7月末的盛夏推出由巫鸿策划的史金淞的最新个展《琰》。作为站台中国又一挑战传统展览观念的展览，展览名称最简括地体现了其中概念，开幕时间也定在一天中最热的时刻－下午2点59分，由此可以看出本次展览所关注的主题。这个艺术计划的契机萌生于2007年的夏天，史金淞同时被“炭”和“玉”这两种特殊媒材所吸引，开始了为期一年的准备和制作。
本次展览将展示三件作品，两件与火有关，另一件是玉的呈现，囊括这三件作品的大意，合起来便是“琰”字。与火有关的两件作品，前者是由整棵树干烧制而成的炭，后者是两台经过精密计算、改造和重新装配的裸露的汽车发动机，以及镜面不锈钢精心打造的排气系统，由于艺术史语汇的贫困我们可以暂时把它们叫作“装置”，但是二者使用的都不是常规意义上的现成品，而是艺术家精心设计的物质转化。实际上，这两件作品在制作上极高的技术含量——这从它们精密的设计图上可以一望而知——全然拒绝装置艺术的原始意义。但它们在展览中的运动状态和对单纯视觉性的拒绝，又使得我们无法把它们归入其它约定俗成的艺术形式。另一件作品，是一个安装在机械底座上的与真人头等大的玉雕人头，随着机械的简单运作以每分钟16次的频率不断地撞击面前的一堵墙壁，单调乏味的撞击声和前两件作品的逼人炙热形成不协调的对比。
这些作品都蕴含着暴力和危险，但这是以不同方式呈现、有着不同文化内涵的危险和暴力。它们在此刻吸引人们的正是它们极端化的艺术想象以及这种想象和精密技术的结合——这是史金淞作品的特性，但是在这里获得了又一次纯化和提升。
如果它们是在西方美术馆展出，必然会被要求“熄火”，成为赏心悦目、无声无害的艺术观赏物。但在北京站台中国当代艺术机构的空间里展出它们，将具有强烈的社会心理意义：其咄咄逼人的高温和冷静的技术处理反映的是现时的“中国状态”——一种以爆破方式进入现代的焦虑的灼热，一种使弄潮儿血脉贲张而使旁观者望之却步的临界景观。
了解更多信息请到站台中国新浪博客：
[url]http://blog.sina.com.cn/platformbj
Fire His Breath, Jade His Bones
New Work by Shi Jinsong
2008.7.26 － 2008.8.24
Curator: Wu Hung[/size]
Opening Party: JULY 26, 2008, 2：59PM
Venue：Platform China Contemporary Art Institute Main Space B
Platform China Contemporary Art Institute is pleased to present Shi Jinsong’s new solo exhibition - Fire His Breath, Jade His Bones -- curated by Wu Hung. This show challenges the conventional concept of an exhibition by emphasizing the “materiality” of contemporary art. The idea of this project first emerged in the summer of 2007 when Shi Jinsong became enchanted by the potential of two kinds of natural materials in making art: fire and jade. This exhibition is the result of his experimentation with both materials over the past year.
The exhibition contains three works - two are related to fire and one uses jade. One of the “fire” works is a burning piece of charcoal made from an enormous tree trunk; the other is an exposed car engine with a stainless steel exhaust system that turns red following periodic explosions. Because of the shortage of appropriate terminology we may call them installations, but both works are far from “readymade,” resulting instead from carefully planned transformation of natural materials and utilitarian objects. The third work in the exhibition is a tiny jade human head set on a stainless steel base upstairs. Motorized by a mechanism it strikes the wall at the rate of 16 times per minute. Its “cool” material and monotonous, repetitive action contrast dramatically with the two “fire” works displayed downstairs.
These works all allude to violence and danger, but of different forms and cultural connotations. They impress people with a penchant for danger as well as for technological precision---a characteristic of Shi Jinsong’s art which achieves a new level of expressiveness.
If displayed in a western museum, such installations would have most likely been presented as flameless and “safe” objects. To be shown in Platform China Contemporary Art Institute in Beijing’s Caochangdi, however, these works are imbued with deep social and psychological significance: the fusion of aggressive burning and impassionate technical calculation reflect what may be called the current “China conditions” - the country’s impatient and explosive thrust into the modern world, and the exhilaration and threat generated by such desire and movement.
For more informations please click here:
[url]http://blog.sina.com.cn/platformbj
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